Indigenous art at the heart of the 27th ROSEQ Spring Meeting

Indigenous art at the heart of the 27th ROSEQ Spring Meeting

Indigenous art at the heart of the 27th ROSEQ Spring Meeting

Originally from the community of Uashat mak Mani-utenam, Dan-Georges Mckenzie is an Innu singer.

The integration of Indigenous artists into presenters' programming was one of the key topics of the 27th Spring Meeting of the Réseau des organizers de spectacles de l'Est-du-Québec (ROSEQ), which ;is concluded on Saturday in Sainte-Anne-des-Monts.

A day of conferences, discussions and cultural showcases was also organized on the theme of Aboriginal works .

“We see the emergence of First Nations artists and we want to be connected to these communities. »

— Frédéric Lagacé, General Manager of ROSEQ

We therefore devoted an entire day to Indigenous works with the objective of improving our reception practices. We wanted to have more keys to help us broadcast them better, explains ROSEQ General Manager Frédéric Lagacé.

The director general of ROSEQ, Frédéric Lagacé, emphasizes the importance of taking an interest in Aboriginal realities. (Archival photo)

The Spring Meeting brought together some fifty professionals from the cultural milieu, including some twenty presenters from the Eastern regions.

“The ROSEQ Spring Gathering is like a family reunion. »

— Alan Côté, Chairman of the Board of Directors of ROSEQ

We're just among ourselves and we can talk about real regional affairs. It is fruitful for the exchanges, for the sharing of expertise and situations that we have experienced in our respective circles. It's very rich, all these meetings, says Alan Côté, Chairman of the Board of Directors of ROSEQ.

Alan Côté is also the director of the Festival en chanson de Petite-Vallée. (File photo)

In addition to Indigenous realities, ROSEQ members had the opportunity to discuss young audiences, marketing and box office.

This is a great opportunity to come together to consolidate our network activities and to discuss the issues and challenges that lie before us. It's also a time to develop our skills and improve our professionalism and our cohesion, underlines Mr. Lagacé.

A conference was offered by Wendat host Charles Bender.

This annual gathering also offered training and workshops between broadcasters.

A dozen artists were able to perform in front of ROSEQ member broadcasters during this 27th Meeting.

It is a first contact with artists, for the most part, who could possibly be part of our programming. We are not in a shopping mode, but rather in a mode of discovering artistic projects. It's really a special moment, says Alan Côté.

Pianist Simon Denizart gave a performance on Friday at the Maison de la culture in Sainte-Anne-des-Monts.

< p>“It's lucky for artists not to be in a sea of ​​people. We have more quality time with them. »

— Alan Côté, Chairman of the Board of Directors of ROSEQ

Among the artists present, several were from First Nations, including Dan-Georges Mckenzie, Eadsé , Omer St-Onge and Hank Gromelski.

Originally from Connecticut, Mi'gmaw singer-songwriter Hank Gromelski has lived in the community of Gesgapegiag for 20 years.

Jeanne Côté and Velours Velours, two regional artists, also performed in front of the broadcasters.

The Spring Gathering also allows broadcasters to take stock of the past year. According to Frédéric Lagacé, ROSEQ members are seeing a pre-pandemic enthusiasm for shows.

In the fall, we noticed that there was a back to the pre-pandemic standards that were taking hold. Then, we gradually launch the fall 2023 and winter 2024 programs and sales are very good, he observes.

“We feel that there is a good movement, that the wind is carrying us in the right direction and that the public has regained the appetite to come to the theaters. »

— Frédéric Lagacé, General Manager of ROSEQ

The Network has 32 multidisciplinary presenters in six regions of Eastern Quebec and programs 800 to 1,000 shows a year.

Mr. Lagacé maintains, however, that presenters face certain challenges, in particular that of consolidating and maintaining artistic circulation on the territory in the current inflationary context.

Costs transport and consumer products are increasing enormously. It affects the cost that broadcasters will pay to buy and broadcast a show. At the same time, there is no guarantee that government funding will be increased to keep up with this inflationary movement, he points out.

This challenge seems to be d' elsewhere put a spoke in the wheel for several cultural enterprises. In recent weeks, broadcaster Kaméléart Matane and Marsoui Mandoline Hybride's organization have announced that they are experiencing financial difficulties.

Frédéric Lagacé thus recalls the x27;Importance of updating government funding programs related to the circulation of the arts in the territory.